The next line contrasts nicely with a prose-like "There is more than glass between the snow and the huge/roses." that draws your attention to the words, not the rhythm, to the mysterious air about the phrase. A staccato sound then follows with 'spit the pips' which you trip-skip past, enjoying the rhythm of it, the enunciation forced upon your lips, the snap of the tongue of 'spit.' The next real movement felt is in stanza three, lines 11 and 12: "On the tongue on the eyes on the ears in the palm's of one's hands." Imagine the nouns being emphasized, hit on the third beat like a steady bass drum, the "on the's" a symbal softly brushed. In the second stanza, the succession of "and's" moves the eye along: "I peel and portion/a tangerine and spit the pips and feel (6,7)" as the aliteration of 'peel and portion' pleases the ear with its comforting repetition (following 'incompatible'). and it works, because both snow and roses are soft, and the image of a whirlwind of snow and pink roses crashing into a huge window, then seeing bruised pink petals on the ground- 'collateral damage.'Then, the rhythmic rhyme of 'collateral and incompatible' slows the reader down to a steady beat as it rolls off the tongue. The combination of 'soundlessly' with 'collateral'-silently damaged, destructed. There is no laborious introduction to the state of the room beforehand- we only know that it "was suddenly rich," but with what? As if there is not time enough to explain such a silly detail, the poem moves on: ".and the great bay-window was/Spawning snow and pink roses against it." there is an ambiguity in the word 'it,' as the snow and pink roses could be spawned against the room or, more logically, against the "great bay-window," though it is also the origin of the 'spawning.' The word itself, spawning, is active and life-giving- one has the image of a spider egg bursting open, the new life hitting a windshield- "soundlessly collateral (3)." One way in which this velocity is accomplished is seen in the first five words, which convey both a past tense and speed: "The room was suddenly rich," the adverb 'suddenly' creating an intensity, as well as the feeling that it's too early for such a word- perhaps we've missed something. Fresh images explode, followed by familiarities, triggered memories of how a tangerine tastes, what it feels like to "spit the pips (7)." There is no plodding, weighted sensation or boring narrative tone- it seems fluid, life-like, experienced first-hand. In his poem ' snow,' Louis MacNeice captures the dichotomy of life: the mind-blowing complexity and simple everyday-ness, that is transcribed whilst retaining an unwritten quality.